By resituating the original 1928 Russian version ofKorol΄, dama, valet(King, Queen, Knave) in the context of Weimar Berlin, this article shows that Vladimir Nabokov's second novel is the culmination of a serious engagement with a flourishing German visual and commercial culture. The appeal ofKorol΄, dama, valetto both native Germans and Russian émigrés based in Berlin is shown to be a sympathetic yet strategic manipulation of the tropes and commonplaces of Berlin's renowned “surface culture.” The article presents Nabokov as an entrepreneurial figure, exploiting his ambivalent status as both an insider and outsider in Berlin for success in translation as well as among the Russian émigrés. Uncovering Nabokov's complex relations to European visual culture, I show that the fusion of materiality and display inKorol΄, dama, valetcan be understood through the concept of the “shop window quality of things.” Drawing on contemporary German sources, this article reveals the Russian novel, so thoroughly repurposed thirty years later in the 1968 English translation, to be a perceptive, even prophetic, analysis of a dynamic and attractive Weimar culture already beginning to spin out of control.

中文翻译：

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橱窗里的事物质量：1920 年代魏玛在纳博科夫的表面文化Korol΄, dama, valet

通过恢复原来的 1928 年俄文版本Korol΄, dama, 代客(国王、王后、无赖) 在魏玛柏林的背景下，本文表明弗拉基米尔·纳博科夫的第二部小说是与蓬勃发展的德国视觉和商业文化认真接触的高潮。的上诉Korol΄, dama, 代客对于居住在柏林的本土德国人和俄罗斯移民来说，这被证明是对柏林著名的“地表文化”的比喻和陈词滥调的同情而战略性的操纵。这篇文章将纳博科夫描述为一个企业家人物，利用他作为柏林内部人士和局外人的矛盾地位，在翻译和俄罗斯移民中取得成功。揭示纳博科夫与欧洲视觉文化的复杂关系，我展示了物质性与展示的融合Korol΄, dama, 代客可以通过“商品橱窗质量”的概念来理解。本文借鉴当代德国资源，揭示了这部俄罗斯小说，在 30 年后的 1968 年英文译本中被彻底改变了用途，成为对已经开始失控的充满活力和吸引力的魏玛文化的敏锐甚至预言性分析。